Naturalistic Landscape Photography

Meteora, Greece 2018 Edition 1/5. Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 35 x 39 x 3 cm To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that is is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

"Barn in Winter" is an original photograph taken near the cemetary where the photographer's mother is buried near Monroe, Michigan. Image size: 5 x 7 8 x 10 with frame made of mat ma...

Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in a ser...

Shaft of light in Upper Antelope Canyon, near Page, Arizona, Navajo Nation Photograph on Kodak Professinal Paper, c. 1980's Unsigned Annotated verso "396" in ink lower right corner C...

Laguna el Verjón and Lagunas de Buitrago Chingaza Diptych, 2018 by Miguel Winograd From the Series Bruma Pigment Prints Overall sheet size: 24 in H x 40 in W Individual size: Sheet...

Bosque Alto Andino Vélez and Andino II Diptych, 2022 by Miguel Winograd From the Series "Bosques" Pigment Prints Overall size: 43 in H x 65 in W Image Size: 43 in H x 32.5 in W Ed...

Moonrise IV and Moonrise II Diptych, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Overall size: 43 in H x 72 in W Individual Size: 43 in H...

Sol Mallorca and Moonrise I, Diptych, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Overall size: 43 in H x 72 in W Individual Size: 43 in ...

Moonrise III, II and I. Triptych, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Overall size: 43 in H x 108 in W Individual Size: 43 in H x...

Set Sol de Mallorca, Moonrise II, I and IV, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Overall size: 43 in H x 144 in W Individual Size:...

El Palmar en la Niebla Chingaza, 2019 by Miguel Winograd From the Series Bruma Selenium- Toned Gelatin Silver Prints Sheet Size: 14 in H x 11 in W Image si...

Frailejones el Verjón, 2018 by Miguel Winograd From the Series Bruma Selenium- Toned Gelatin Silver Prints Sheet Size: 11 in H x 14 in W Image Size: 10 in H x 12.5 in W Edition of...

Portfolio, 2021 by Miguel Winograd 12 Selenium- Toned Gelatin Silver Prints (B&W) Sheet Size: 10 in H x 8 in W Acid-free box. Edition 1/3 + 1AP 1. Road to El Palmar, Chingaza 2. La...

Bosque Alto Andino Chingaza, 2021 by Miguel Winograd Selenium-Toned Gelatin Silver Prints From the series Bosques 14 in H x 11 in W Edition of 7 + 2AP Black and white Edition Unfra...

Bosque Húmedo Tropical II Nuquí, 2021 by Miguel Winograd Selenium-Toned Gelatin Silver Prints From the series Bosques 11 in H x 14 in W Edition of 7 + 2AP Black and white Edition U...

Bosque Alto Andino Chingaza, 2021 by Miguel Winograd From the Series "Bosques" Pigment Prints Image Size: 43 in H x 43 in W Edition of 5 + 2AP Black and white Edition Unframed A...

Bosque Húmedo Tropical III Nuquí, 2021 by Miguel Winograd Selenium-Toned Gelatin Silver Prints From the series Bosques 14 in H x 11 in W Edition of 7 + 2AP Black and white Edition ...

Bosque Alto Andino Vélez, 2022 by Miguel Winograd From the Series "Bosques" Pigment Prints Image Size: 43 in H x 32.5 in W Edition of 5 + 2AP Color Edition Unframed All Prices a...

Bosque Alto Andino II Vélez, 2022 by Miguel Winograd From the Series "Bosques" Pigment Prints Image Size: 43 in H x 32.5 in W Edition of 5 + 2AP Color Edition Unframed All Price...

Bosque Seco Tropical Montes de María, 2022 by Miguel Winograd From the Series "Bosques" Pigment Prints Image Size: 43 in H x 32.5 in W Edition of 5 + 2AP Color Edition Unframed ...

Moonrise II, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Size: 43 in H x 36 in W Edition of 7 + 2AP Black and white Edition Unframed _...

Moonrise III, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Size: 43 in H x 36 in W Edition of 7 + 2AP Black and white Edition Unframed ...

Moonrise IV, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Size: 43 in H x 36 in W Edition of 7 + 2AP Black and white Edition Unframed _...

Sol Mallorca, 2023 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Size: 43 in H x 36 in W Edition of 7 + 2AP Black and white Edition Unframed ...

Moonrise I Cauquenes, 2022 by Miguel Winograd From the Series Mares Archival pigment print on fine art paper Size: 43 in H x 36 in W Edition of 7 + 2AP Black and white Edition Unf...

Bosque Húmedo Tropical II Nuqui, 2021 by Miguel Winograd From the Series Bosques Pigment Prints Size: 36 in H x 43 in W Edition of 5 + 2AP Black and white Edition Unframed _____...

Bosque Húmedo Tropical III Nuqui, 2021 by Miguel Winograd From the Series Bosques Pigment Prints Size: 43 in H x 36 in W Edition of 5 + 2AP Black and white Edition Unframed ____...

Cordillera II Cauquenes, 2022 by Miguel Winograd From the Series "Cordillera" Pigment Prints Image Size: 43 in H x 32.4 in W Edition of 5 + 2AP Color Edition Unframed ___________...

2022, Photograph on fine art paper

2023, Photograph on fine art paper

2023, Photograph on fine art paper

2023, Photograph on fine art paper

Cordillera I Cauquenes, 2022 by Miguel Winograd From the Series "Cordillera" Pigment Prints Image Size: 32.4 in H x 43 in W Edition of 5 + 2AP Color Edition Unframed ____________...

2019, Print on textured Hahnemühle paper

2019, Print on metal

2019, Print on metal

Kalakwa 1, Khomas Region, 2018 Edition of 2 Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 68 x 93 x 3 cm Other editions in 3 sizes, 3-2-1 + AP To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that is is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

Bredarsdorp, Western Cape, 2019 Pigment print on Canson photographic rag 310g, mounted on dibond in a smoked oak wood frame with museum glass Edition of 2 Framed: 68 x 76 x 3 cm Oth...

Shil, Schwyz 2017 Edition 1/1, AP Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 144 x 144 x 4 cm Edition in 3 sizes, 3-2-1 + AP To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that is is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

Rothko 2020 Edition 1, AP. Pigment print on Canson photographic rag 310g, mounted on dibond in grey oak wood frame with museum glass. Framed: 144.6 x 128 x 7 cm Other editions in 3 ...

Untitled 3 2021 Fine art print on Hahnemuhle hemp paper mounted on dibond in smoked oak frame with museum glass 98 x 129 x 4 cm To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that it is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

Dammagletscher Uri 2020 Edition 1, AP. Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 144 x 128 x 7 cm. Other ...

Untitled 1 2020 Fine art print on Hahnemuhle hemp paper 98 x 129 x 4 cm To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

Wetterhorn, Bern 2020 Edition on 2 Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 68 x 76 x 3 cm Other edition in 3 sizes, 3-2-1 + AP To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that is is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

Val Roseg, Grisons 2019 Edition of 2. Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 68 x 93 x 3 cm Editions in 3 sizes, 3-2-1 + AP To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that it is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of nature...

Sustenjoch 2020 Edition of 2. Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 68 x 76 x 3 cm Other Edition in 3 sizes, 3-2-1 + AP To get a fresh look at natures beauty in a modern era, Zak van Biljon went beyond the visible spectrum to capture these vivid images. The technique, developed for military surveillance and crop surveys, captures near-infrared light: wavelengths of electromagnetic radiation that fall between what we see as red and the longer wavelengths used for thermal imaging. The pigment in plant leaves, chlorophyll, strongly absorbs visible light which they use as a source of energy in the process of photosynthesis. The cell structure of the leaves, on the other hand, strongly reflects near-infrared light. A strong absorption at these wavelengths would only result in overheating the plant and possibly damaging the tissues. The human eye is unable to perceive infrared light but it is exactly this reflected energy, which reacts with infrared-sensitive material to create electric pinks and vibrant reds. The idea of landscapes is not landscape by itself. Nothing exists by itself but only through perception. Our perception, however, is subject to both individual watching and classifying what we see. The classification is strongly subdued to the imagery with which we are confronted every day. The famous Windows computer desktop image “Bliss” and others of this kind have become a kind of nature of which we believe that is “true” nature. Pictures of natures are not about falsifying nature itself but are reflecting our perception of nature. What kind of image do we have? On social media channels user are sharing zillions of filtered photos of...

Furka 1, Uri, 2021 Edition of 3 Pigment print on Canson photographic rag 310g, mounted on dibond in smoked oak wood frame with museum glass. Framed: 53 x 53 x 3 cm Other editions i...

Les Fleurs, 2020 Edition 1 AP. Pigment print on Canson photographic rag 310g, mounted on dibond in grey oak wood frame with museum glass. Framed: 144.6 x 1...

'Pale peaks' Alto Adige, Italy, 2021 Printed on the finest archival paper, these limited edition photographs are designed to withstand the test of time, preserving the beauty and ...

'Cretan Tamarix' Crete, Greece 2022 Limited edition of 20.

Looking at the beauty and fragility of the nature during European heat wave. Hope for the prevalence. Lerici, Italy 2022 Photograph is a giclée print on Hahnemühle photo rag Baryta ...

The Second Wave, Coyote Buttes, Paria Canyon-Vermilion Clifts Wilderness, Arizona Photograph on Kodak Professional Paper, c. 1980's Unsigned Condition: Excellent Mi...

'Samaria Gorge no. 2' 31x41 cm limited edition of 20. Taken in Crete, Greece 2022. Printed on heavyweight Photo rag Baryta Hahnehnmule fine art paper. Signed front and back, come...

Bird and Hibiscus Cibachrome print, 1980 Signed and dated by the artist in pencil lower right (see photo) Deaccessed from the Reader's Digest Association Collection (#18717) with label (see photo) Purchased from Lieberman & Saul Gallery, between 1986 and 1993 when the name oif the gallery changed to Julie Saul Projects Very small edition Provenance: Lieberman & Saul Gallery, New Yokr, NY (until 1985) (label verso) Reader's Digest Association (label) Condition: Excellent Image size: 9-7/8 x 9-7/8" (25 x 25 cm.) Frame size: 20-1/2 x 16-1/2" Suzanne Camp Crosby Posted by FMoPA Apr 7, 2021 FMoPA In Focus 0 Suzanne Camp Crosby, Gasparilla Ship, 2004 In December of 2020 beloved Tampa photographer and educator Suzanne Camp Crosby died. She had taught generations of students at the Hillsborough Community College where she had been a professor of photography for 38 years. Camp Crosby had the prestigious honor of being the 2004 City of Tampa Photo Laureate and the exhibition resulting from that body of work, Suzanne Camp Crosby: 2004 Photo Laureate City of Tampa Public Art – Big Picture Project, was presented at the Tampa Museum of Art that same year. Other awards include a Southeast Artist Fellowship from the National Endowment for the Arts and Southeastern Center for Contemporary Art in 1978-79. Suzanne Camp Crosby, Paper Flowers, c. 1990 The Florida Museum of Photographic Arts (FMoPA) has gratefully accepted the task of helping to place the photographic archives of this beloved artist. This collection includes more than 725 photographs spanning her career of over 40 years. A broad selection of this work will be brought into the collection of FMoPA, with an exhibition to follow in the summer of 2022. Other institutions in the area are also considering simultaneous showings. University of Tampa student Alyssa R. Miller has signed on to help with the documenting and digitizing of this body of work. This will help make it possible to distribute photographs to other institutions, with limited works to be sold to help finance the efforts. Examples of her photography are already currently held in the collections of FMoPA, the Tampa Museum of Art (TMA), Los Angeles County Museum of Art, and the New Orleans Museum of Art, among many others. Three wonderful examples of her talent are currently on view at the TMA’s exhibition Her World in Focus: Women Photographers from the Permanent Collection, on view until June 27, 2021. Suzanne Camp Crosby, Doris Day at Clothesline, 1980 Camp Crosby’s solo exhibitions include Suzanne Camp Crosby: Kid City, 2009 at FMoPA, and multiple exhibitions at the HCC Galleries, where she eventually became the Program Manager for the Visual Art and Dance departments in addition to her teaching and exhibitions. She also taught and received her MFA at the University of South Florida in Tampa. Additional schools where she was an instructor include the University of Central Florida in Orlando, FL, and the St. Petersburg College, Clearwater campus. Camp Crosby specialized in creating thematically directed photographs, created by adding unexpected objects or people to mostly everyday scenes. Her artwork is often playful and witty. Early work included tender black and white compositions often using her children or friends to create evocative scenes. Later photographs brought in color and experimentation. Examples include the juxtaposition of life-sized 2-D paper doll cut-outs of 1950s movie stars to real-life mundane household settings, as well as a wide selection of other artificial items placed into real-life settings. As a visual storyteller, she continued to explore and experiment with ideas and themes throughout her lengthy career. Courtesy The FLORIDA MUSEUM of PHOTOGRAPHIC ARTS Suzanne’s artwork is in many permanent collections, including the Tampa Museum of Art, the USF Museum of Contemporary Art, the Orlando Museum of Art, the Polk Museum of Art, the Florida Museum of Photographic Arts, the Leepa-Rattner Museum of Art, the New Orleans Museum of Art, the Los Angeles County Museum of Art, Walt Disney World Corporation, Tropicana Corporate Collection, City Bank, Tampa Electric Company, Shriner’s Hospital, Tampa General Hospital, Hillsborough Community College, City of Tampa Public Art, City of Orlando Public Art, and the von Liebig Art Center. From ARTFORUM JULIE SAUL (1954–2022) Julie Saul, who through her long-running eponymous New York gallery did much to elevate contemporary photography within the art world, died February 4 in Tampa after a battle with a rare form of leukemia. Saul was known for her willingness to show an eclectic range of works in media ranging from painting to sculpture to video to ceramics by an equally diverse range of artists, but it was her eye for both traditional and avant-garde contemporary photography that cemented her reputation and that of her gallery, which she first established in 1986 in SoHo, then a frontier for the arts. Saul was born in Tampa on New Year’s Eve in 1954 to a father who was head of a sewn-products company and a housewife mother, a native New Yorker and volunteer docent whom Saul would later credit with introducing her to the arts. “Tampa had no museums, but she would take us to museums in New York,” she told the Tampa Bay Timesin 2003. “We had a house that wasn't filled with great art, but there were great reproductions and great art books.” In 1979, Saul moved to New York, obtaining her master’s degree from New York University’s Institute of Fine Arts in 1982. Four years later, with partner Nancy Lieberman, she opened Lieberman Saul Gallery at 155 Spring Street in SoHo, showing contemporary photography at a time when not many others were. “One thing that drew me to photography from the very beginning—and it still holds—is that photography is an affordable medium. Almost anybody can afford to collect photographs,” she told the Association of International Photography Art Dealers (AIPAD) in 2010. “Fundamentally, photography is a medium and what makes work great is the idea behind it and how well it’s executed.” Among the photographers whose work Saul championed are Nikolay Bakharev, Morton Bartlett, Eugene Bellocq, Andrew Bush, Sally Gall, Luigi Ghirri, Andrea Grützner, Sarah Anne Johnson, Adam Magyar, and Arne Svenson...

49" x 70" Ed. of 8 $9,800 & larger 41" x 59" Ed. of 10 $6,800 36" x 50" Ed. of 6 $5,200 30" x 42" Ed. of 6 $3,600 Recommended option to use museum glass/acrylic priced on request In this photograph, Lenoir captures a calming seascape featuring a group of piping plovers on East Hamptons beach...

'Cretan goats' 30x45cm limited edition of 20. Taken in Crete, Greece 2022. Printed on heavyweight Photo rag Baryta Hahnehnmule fine art paper. Signed front and back, comes with a...

Orquídea Paphiopedilum and Orquídea Paphiopedilum Callosum (Diptych), by Miguel Winograd Selenium-Toned Gelatin Silver Prints From the series "Matas" Overall size: 14 in H x 22 in W Individual size: Orquídea Paphiopedilum, 2021 14 in H x 11 in W Edition of 7 + 2AP Orquídea Paphiopedilum Callosum, 2017 14 in H x 11 in W Edition 2/7 + 2AP Black and white Edition Unframed All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales ---------------------------------------------- Miguel Winograd is a Colombian photographer. After years of graduate study in Latin American History, he completed the documentary photography program at the International Center of Photography (ICP) in New York. His personal work explores the relationship between people and their environment, narratives of social conflict, and the dense interconnections of the Colombian landscape. Occasionally, he prefers to make portraits of trees. His work has been exhibited in New York, Berlin, Mexico City, and Bogotá, and published in different media, including The New York Times and The New Republic...

'Samaria Gorge' 32x40 cm limited edition of 20. Taken in Crete, Greece 2022. Printed on heavyweight Photo rag Baryta Hahnehnmule fine art paper. Signed front and back, comes with...